{"id":718,"date":"2010-02-10T11:41:28","date_gmt":"2010-02-10T19:41:28","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=718"},"modified":"2014-05-29T22:25:37","modified_gmt":"2014-05-29T22:25:37","slug":"bad-moon-rising","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/bad-moon-rising\/","title":{"rendered":"Bad Moon Rising"},"content":{"rendered":"

Johnson, ASC and Johnston resurrect one of Hollywood\u2019s most fabled fanged creatures for Universal Pictures\u2019 The Wolfman<\/em><\/strong><\/p>\n

\u201cEven a man who is pure in heart and says his prayers by night, may become a wolf when the wolfbane blooms and the autumn moon is bright.\u201d -Werewolf legend, Universal\u2019s The Wolf Man (1941) and The Wolfman (2009)<\/em><\/strong><\/p>\n

Thus has been the plight of Lawrence Talbot ever since Lon Chaney, Jr. portrayed the suffering man-beast in Universal\u2019s 1941 classic, The Wolf Man<\/em>.\u00a0 For Universal\u2019s newest incarnation, starring Benicio Del Toro and Sir Anthony Hopkins, Talbot is forced to deal with the mal-effects of the monthly full moon and seeks only to end his misery (at the hand of a loved one and a silver bullet), though not before resolving a few family issues.<\/p>\n

Bringing the lycanthrope back to the screen in a faithful update has been the creative challenge set by the studio for years, now respectfully rendered by director Joe Johnston and director of photography Shelly Johnson, ASC.<\/p>\n

\u201cOf the Universal classics, The Wolf Man<\/em> was always my favorite,\u201d states the director, who previously collaborated with Johnson on Jurassic Park III<\/em>, Hidalgo<\/em> and the upcoming Marvel feature, The First Avenger:\u00a0 Captain America<\/em>. \u201cIt reminds us that there\u2019s a beast in all of us. Underneath the surface, there\u2019s a monster.\u201d<\/p>\n

The Wolfman<\/em> was originally to have been directed by Mark Romanek (One Hour Photo<\/em>) and shot by Alvwin Kuchler, though in February 2008, after a seven month prep period and just three weeks prior to start of production, the studio shifted direction, bringing in Johnston to direct and, with him, Johnson.
\n\u201cI was on my way to the airport,\u201d recalls the cinematographer of his trip to London, where the film was shot, \u201cand I got a call from Universal\u2019s Donna Langley.\u00a0 She said, \u2018Now, Shelly, I just want you to know this movie needs to be dark \u2013 I mean, really<\/em> dark.\u00a0 Can you do this?\u2019\u00a0 I told her, \u2018Donna, do you have any idea how many cinematographers dream of getting this phone call?\u2019\u201d he laughs.<\/p>\n

\u201cI told Shelly \u2018I want this to feel cold,\u2019\u201d Johnston says, \u201cso that when there is a happy scene \u2013 and there\u2019s really only one \u2013 I want it to contrast. It\u2019s a love story that you know is going to end badly, no matter what happens.\u201d<\/p>\n

\"\"<\/p>\n

Moonlight Becomes Him<\/strong><\/p>\n

Johnston says that original director Romanek had already made a number of good decisions, including casting and some locations, as well as the visual look of the film (largely the efforts of production designer Rick Heinrichs). And while the 1941 The Wolf Man<\/em> was shot almost entirely on stages at Universal \u2013 even the film\u2019s iconic forest scenes – Heinrichs opted for a more modern approach.<\/p>\n

\u201cI love the kind of theatrical reality old Hollywood films have,\u201d he says.\u00a0 \u201dBut what we wanted to make the idea of a man turning into a wolf into something compellingly real.\u201d Johnston agrees. \u201cThe original film, while it\u2019s atmospheric and moody and iconic, feels stage-bound and artificial.\u00a0 We wanted this to feel as out there in nature as we could make it.\u201d<\/p>\n

To bring that natural darkness to life, the director entrusted his cinematographer almost completely, a manner in which the duo had already comfortably partnered.<\/p>\n

\u201cI tend to give him a minimal amount of input, and say, \u2018This is the way I think the film should look,\u2019 and let him decide how he\u2019s going to achieve that,\u201d reports the director. \u201cI really like to give (Shelly) as much flexibility and creative freedom as I possibly can, from capture to post.\u201d
\nAdds the cinematographer about his working mate: \u201cJoe doesn\u2019t go for eye candy.\u00a0 He\u2019s not trying to shoot a video game. The audience is living in a world with the characters, so we really wanted the story to live in its own unique world, one that didn\u2019t share any rules with anyplace else.\u201d<\/p>\n

That meant lighting spaces that reflected the torturous dichotomy in which Talbot lives.\u00a0 \u201cHe\u2019s constantly being pulled between animal savagery and love; between confusion and fear and immense power, all at once,\u201d remarks Johnson.\u00a0 \u201cThere are so many opposites contained in the same scene, and that\u2019s something I wanted to represent visually. Warm and cool, black and white, light and dark, all in the same frame.\u201d<\/p>\n

Like the historic Victorian-era mansion, Chatsworth, which played the role of Talbot Hall, where Heinrichs says, \u201cthe many clerestories and skylights allowed Shelly to create an interplay between what falls into the light and what falls out of the light.\u201d In fact, Johnson was able to light interiors almost equally as dark for both daytime and nighttime scenes.\u00a0 \u201cAnd anywhere we were able to remind the audience of the external lighting at night, we did,\u201d he adds. \u201cThe moon is obviously a recurring theme.\u201d<\/p>\n

\u201cWe had foreground, where we had rich blacks and grayer blacks in the background,\u201d Johnson continues. \u201cAnd then we would integrate the (color palette) by introducing warm tones in the foreground and cooler tones in the background.\u201d Key to such scenes is the use of candlelight as a source.<\/p>\n

\u201cThe period of this film \u2013 1891 \u2013 straddles the pre-electrical age,\u201d explains Heinrichs.\u00a0 \u201cSo, in the city, you actually would have electricity. But candlelight was still very much something that existed in the country. So the journey from London into the country is a journey into the past \u2013 going from the light to the dark, from civilization to nature and superstition.\u201d\u00a0 Although the light created by the double-wick candles was not without its challenges for the DP, Heinrichs says. \u201cYou\u2019re really playing along the margins of where things fall off and where they\u2019re illuminated.\u201d<\/p>\n

Johnson says the solution lay in careful pushing of his film stock, in this case, Kodak Vision3 5219 (500T), which was used for most of the film except day exteriors, for which Vision2 5217 (200T) was implemented.<\/p>\n

\u201cThis was the first time I\u2019d been out with 19,\u201d Johnson recalls. \u201cWe did a makeup test, and I liked very much the bite that it had, how it rolled into the blacks. It reminded me of the very first 93 stock, which had been discontinued shortly after its release, that everyone loved.\u201d<\/p>\n

\"\"<\/p>\n

While pondering how to shoot such candlelit scenes, Johnson found himself filming a scene on location at Chatsworth at \u201cmagic hour.\u201d\u00a0 After getting what he thought was the master, Johnston requested a reverse that wasn\u2019t planned. \u201cThe light was gone. My meter read \u2018E,\u2019\u201d says Johnson. \u201cSo we put a new roll up (of 5219) and pushed it to ASA 800.\u00a0 We were losing our location and had no choice.\u201d<\/p>\n

After receiving dailies back from London\u2019s Ariom Labs, Johnson was more than pleased.\u00a0 \u201cIt was beautiful, and you could not tell the stuff was pushed. I turned to our gaffer, John Higgins, and said, \u2018Okay, we just figured out how to shoot our candlelight.\u2019\u00a0 We frequently did our candlelit interiors lit with just one candle \u2013 sometimes that was the sole illumination. I just shot wide open on a Primo, which is a 1.9, and rated the 19 at 800,\u201d drawing as much out of the shadows as possible.<\/p>\n

Black Magic<\/strong><\/p>\n

Gaslight also proved an interesting ally, most notably in a scene in a medical theater in which doctors attempt to prove to Talbot that this werewolf nonsense is \u201call in his mind\u201d (hint: this is where the film\u2019s major transformation sequence occurs).<\/p>\n

\u201cWe modeled it after oil paintings of the period, focusing on two by Thomas Eakins, The Gross Clinic<\/em> and The Agnew Clinic<\/em>,\u201d explains Joe Johnston. \u201cShelly\u2019s lighting perfectly captures the soft and eerie look of gaslight.\u201d<\/p>\n

\u201cWhat\u2019s great about the gaslight is that the light really does fall off in places in a way that it would have in that era,\u201d notes Heinrichs.\u00a0 \u201cThe set kind of creeps out of the darkness to where the focus is.\u201d<\/p>\n

\"\"<\/p>\n

Johnson typically shot with a pair of Panavision Millennium XLs. Irish operator Des Whelan, with whom Johnson had worked previously, and Pete Cavaciuti ran A and B cameras, respectively.
\n\u201cOperators in England are traditionally more a part of the creation of the shot than they are in the States,\u201d Johnson explains.\u00a0 \u201cIn most cases, the DP is the lighting cameraman. We\u2019re used to working in a completely different way, but I wanted to respect their system and included them in our discussions after rehearsals as much as I could.\u201d<\/p>\n

A-camera most often found itself mounted on a Technocrane, a favorite of Joe Johnston\u2019s, in combination with Panavision Primo 4:1 zoom lenses. \u201cThe camera lives on a Technocrane when it\u2019s me and Shelly,\u201d Johnston says simply.<\/p>\n

The pairing of the Technocrane and zoom lenses accommodates the director\u2019s preferred working style. \u201cJoe\u2019s constantly making adjustments between takes to accentuate moments within the scene,\u201d shares Johnston. \u201cHe\u2019ll want the shot to move tighter or wider, and doesn\u2019t like to be locked into anything. If he wants to pan over where I\u2019ve got equipment, I tell him, \u2018Don\u2019t worry about the equipment. Let\u2019s figure out where we want the shot to be, and I\u2019ll figure out a way to work it out.\u2019 He likes the idea that he can go anywhere.\u201d<\/p>\n

Johnston calls the Technocrane \u201cthe most flexible piece of equipment\u201d on the market. \u201cIt\u2019s got more axes than a dolly \u2013 up, down, side to side, in and out,\u201d the director states. \u201cThe cameras are basically floating in the air, and that allows me total freedom. I know there\u2019s this feeling that the Technocrane is a giant piece of equipment, and that it will slow you down. But I think the opposite is true. Once you\u2019ve got a crew that uses it well, it really speeds things up.\u201d
\nThe versatile rig was also favored for exteriors, including the many forest sequences, shot at Bourne Wood, where gypsy camp scenes were filmed, as well as Black Park, located just outside the film\u2019s home base at Pinewood Studios.<\/p>\n

In keeping with his visceral approach, Johnson lit the forests in an unorthodox manner.\u00a0 \u201cThe first thought was to have moonlight coming in from the top, but it just restricted us too much, when we wanted to say so much more with the imagery.\u201d<\/p>\n

So, instead Johnson lit from below, filling in depressions in the ground with 30 or 40 20Ks and shooting into backlit fog.\u00a0 \u201cIn most cases when you\u2019re doing night exterior, the first thing you\u2019re thinking about is, \u2018Okay, where am I going to put these cranes?\u00a0 How high can I tilt up before I start seeing equipment?\u2019 Here, the sky\u2019s the limit.\u00a0 We wanted to be able to see the treetops and beyond, and silhouette foreground characters against this world.\u201d<\/p>\n

Completing the eerie imagery is something Johnson refers to as \u201cblack layer luminance technique.\u201d
\n\u201cWhen you\u2019re creating a complex visual language that\u2019s outside the norm, there needs to be one element that integrates everything,\u201d he explains. The technique, which Johnson created in PhotoShop on his laptop, \u201ccreates a sort of pearlescent look to the highlights, where they have a luster to them. They\u2019re not necessarily bright, but there\u2019s a glow and depth. The story exists in the shadows, and I wanted those shadows to have a certain life and an unexpected nature to them.\u201d<\/p>\n

\"\"<\/p>\n

To produce the look, Johnson turned to Technicolor Digital Intermediates colorist Jill Bogdanowicz. \u201cHe wanted the blacks to feel velvety and rich,\u201d she explains. \u201cNot over-powerful, where you feel that everything is fuzzy, but just really dark, while still maintaining the detail.\u201d<\/p>\n

To achieve such a look, Bogdanowicz used a luminance key to isolate the darkest parts of the image and then rendered a defocus, often applying more highlights to punch any detail present through the defocus effect. \u201cThe whole movie has this really dark, spooky look that\u2019s kind of silvery,\u201d the colorist says. \u201cWe have a lot of desaturation,\u201d adding a slight amount of cyan to complete the look. \u201cWhich tends to isolate the darkest blacks and bring them a little bit lower, without losing detail or any of the fog.\u201d<\/p>\n

Crafting the unusual look of The Wolfman<\/em> required Shelly Johnson to create a language that was both canine and human, terrestial and otherworldly.<\/p>\n

\u201cThe look is not real at all, but it does follow an emotional logic, so the audience won\u2019t question it,\u201d he says.\u00a0 \u201cIt can\u2019t be random. You have to create rules that mean something to the storytelling. While lighting in an unorthodox way, I might ask myself, \u2018My God \u2013 is this going to work?\u2019 And it does because we say it does. All that matters it that is make sense in the wolfman\u2019s world.<\/p>\n

By Matt Hurwitz \/ photos by Frank Connor<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Johnson, ASC and Johnston resurrect one of Hollywood\u2019s most fabled fanged creatures for Universal Pictures\u2019 The Wolfman<\/p>\n","protected":false},"author":1,"featured_media":3594,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[37,168,169],"class_list":["post-718","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-icg-magazine","tag-shelly-johnson","tag-the-wolfman-cinematography"],"acf":[],"yoast_head":"\nBad Moon Rising - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/bad-moon-rising\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bad Moon Rising - 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